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Actors of the Comédie-Française is an oil painting on a pearwood panel that measures approximately 20 by 25 cm. [3] [4] The painting is a compact half-length composition that shows five figures standing around a high wooden balustrade; most of the figures can be related to extant drawings, either directly or through comparable studies in Watteau's body of work.
A tableau vivant (French: [tablo vivɑ̃]; often shortened to tableau; pl. tableaux vivants; French for 'living picture') is a static scene containing one or more actors or models. They are stationary and silent, usually in costume, carefully posed, with props and/or scenery , and may be theatrically illuminated .
Pablo Picasso, Les Demoiselles d'Avignon, detail of the figure to the upper right Pablo Picasso, Les Demoiselles d'Avignon, detail of the figure to the lower right Pablo Picasso, Nu aux bras levés (Nude), 1907 Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo ...
In 2004, the video artist Eve Sussman filmed 89 Seconds at Alcázar, a high-definition video tableau inspired by Las Meninas. The work is a recreation of the moments leading up to and directly following the approximately 89 seconds when the royal family and their courtiers would have come together in the exact configuration of Velázquez's ...
In the space are three figures behind a table. On the table are still–life objects, which Picasso identified as a pipe, a package of tobacco, and a pouch. The figure on the left is the Pierrot, the sad clown from Commedia dell'arte. He has a white pointy hat, a black eye mask, a blue and white body, and white pants. He is playing a gray clarinet.
Female Figure (or Sibyl with Tabula Rasa, Spanish: Sibila con tábula rasa) is a small, probably unfinished, 1648 oil on canvas painting by Diego Rodríguez de Silva y Velázquez, the leading artist of the Spanish Golden Age.
Renoir began the painting in about 1880–81, using the loose brushwork with dark and bright tones typical of the Impressionist movement. In about 1885, after losing his attachment to Impressionism and drawing inspiration from classical art he had seen in Italy and the works of Ingres and Cézanne, he reworked parts of the painting, particularly the principal female figure to the left of the ...
The female figures in Mucha's works were "entwined in vaporous hair and light dresses inspired by nature, such as willowy foliage," as well as adorned in extravagant jewels. [ 4 ] [ 5 ] Mucha fills the background of these pieces with floral or abstract patterns. [ 4 ]